Milos Forman - Biography - IMDb Milos Forman Biography Showing all 56 items Jump to: Overview (3) | Mini Bio (1) | Spouse (3) | Trade Mark (2) | Trivia (26) | Personal Quotes (21) Overview (3) 5' 10" (1.78 m) Mini Bio (1) Milos Forman was born Jan Tomas Forman in Caslav, Czechoslovakia, to Anna (Svabova), who ran a summer hotel, and Rudolf Forman, a professor. During World War II, his parents were taken away by the Nazis, after being accused of participating in the underground resistance. His father died in Buchenwald and his mother died in Auschwitz, and Milos became an orphan very early on. He studied screen-writing at the Prague Film Academy (F.A.M.U.). In his Czechoslovakian films, Black Peter (1964), The Loves of a Blonde (1965), and The Firemen's Ball (1967), he created his own style of comedy.

During the invasion of his country by the troops of the Warsaw pact in the summer of 1968 to stop the Prague spring, he left Europe for the United States. In spite of difficulties, he filmed Taking Off (1971) there and achieved his fame later with One Flew Over the Cuckoo's Nest (1975) adapted from the novel of Ken Kesey , which won five Oscars including one for direction. Other important films of Milos Forman were the musical Hair (1979) and his biography of Wolfgang Amadeus Mozart , Amadeus (1984), which won eight Oscars. - IMDb Mini Biography By: Volker Boehm Spouse (3) Would frequently cast Vincent Schiavelli Trivia (26) His sons, Andrew and James, were named after Andy Kaufman and Jim Carrey . Carrey portrays Kaufman in Forman's film Man on the Moon (1999). Became US citizen in 1975. Awarded fourth annual John Huston Award for Artists Rights by the Artists Rights Foundation.

[1997] Father, with Vera Kresadlová , of twin brothers Matej Forman & Petr Forman . First name is pronounced "Mee-losh." Last name is pronounced like "Forre-mahn", with rolling "r"'s. Biography in: John Wakeman, editor. "World Film Directors, Volume Two, 1945-1985." Pages 349-356. New York: The H.W. Wilson Company, 1988. He directed 8 different actors in Oscar-nominated performances: Jack Nicholson , Louise Fletcher , Brad Dourif , Howard E. Rollins Jr. , Elizabeth McGovern , F. Murray Abraham , Tom Hulce and Woody Harrelson . Nicholson, Fletcher and Abraham won Oscars for their performances in one of Forman's movies. Is currently director of Columbia University's film division. He takes sabbatical years for filmmaking. President of the jury at the Cannes Film Festival in 1985. Member of the jury at the Cannes Film Festival in 1972.

His top ten films of all time are: City Lights (1931), Citizen Kane (1941), Children of Paradise (1945), Miracle in Milan (1951), Giant (1956), The Godfather (1972), Amarcord (1973), American Graffiti (1973), The Deer Hunter (1978) and Raging Bull (1980). [Source: "Sight and Sound"]. He was hand-picked by Michael Crichton to direct Disclosure (1994) but subsequently left the project due to creative differences with Crichton. He was due to have directed a film called Hell Camp in the early 1990s, from an original screenplay he had written with Adam Davidson . The film, to have been shot in New York and Tokyo, was to have starred Dylan Walsh and centred on two young Americans travelling to Japan and learning Japanese discipline and fighting spirit at a military-style camp. One falls in love with a Japanese girl while the other becomes a sumo wrestler.

Shooting was to have started in November 1991 for a Christmas 1992 release but the film was cancelled when the Sumo Association of Japan objected to the script's allegedly unflattering portrayal of the sport. TriStar, the film's backers, offered to support Forman if he wanted to change the script or try to make the film without the cooperation of the Sumo Association but the director felt that the association's cooperation was needed for the film's authenticity in the provision of stadiums and professional sumo wrestlers. One of only three living directors who have directed two films that have won the Academy Award for best picture. The others are Francis Ford Coppola and Clint Eastwood . Was reportedly one of the first directors who considered turning the J.R.R. Tolkien novel, "The Lord of the Rings", into a live action feature. Is one of 9 directors to win the Golden Globe, Director's Guild, BAFTA, and Oscar for the same movie, winning for One Flew Over the Cuckoo's Nest (1975).

The other directors to have achieved this are Mike Nichols for The Graduate (1967), Richard Attenborough for Gandhi (1982), Oliver Stone for Platoon (1986), Steven Spielberg for Schindler's List (1993), Ang Lee for Brokeback Mountain (2005) and Danny Boyle for Slumdog Millionaire (2008), Alfonso Cuarón for Gravity (2013), and Alejandro G. Iñárritu for The Revenant (2015). He was the first choice of screenwriter Joe Eszterhas and original producer Irwin Winkler to direct Basic Instinct (1992). Forman liked the script and was interested in directing the film but Carolco, who had paid a record $3m for the script, made a deal with Paul Verhoeven to direct. Ex-brother-in-law of Hana Brejchová . Studied direction at the Prague Film Academy (FAMU) together with his friend George Skalenakis .

Will receive the Directors Guild of America's Lifetime Achievement Award for Distinguished Achievement in Motion Picture Direction [November 28, 2012]. In the short story "La Pomme d'Or de l'éternel désir" (in the book of short stories "Risibles Amours") by Milan Kundera , Martin, the hero's womanizing friend introduces himself as Milos Forman to the naive country girl he tries to pick up (Folio edition, 1987, pg. 75). He was raised by parents Anna (Svabova), who ran a summer hotel, and Rudolf Forman, a professor. They were Protestants, but were arrested by the Nazis during World War II after being accused of participating in the underground anti-Nazi resistance (his father died in Buchenwald and his mother died in Auschwitz). As an adult, Milos was told that his biological father was Otto Kohn, an architect of Jewish heritage (making Milos a biological half-brother of mathematician Joseph J. Kohn). He directed two Best Picture Academy Award winners: One Flew Over the Cuckoo's Nest (1975) and Amadeus (1984).

Two of Milos Forman's films, Loves of a Blonde and The Fireman's Ball, are in the Criterion Collection. Studied at FAMU film school in Prague, then Czechoslovakia, now Czech Republic. Other graduates of FAMU are Agnieszka Holland and Emir Kusturica . Personal Quotes (21) I know this sounds so little, and not serious enough, but I believe that I have to have fun. We all have to have fun - me, the actors, the cameraman, everybody should feel as if we are making a home movie, because that is the only way to open the film to a certain kind of lightness. If everybody involved feels the seriousness, the heavy weight of money being stamped on movies, it somehow influences the result in a way which is anesthizing to life. The theatre is different from the movies, which is very right for the theatre, because you know when the curtain goes up, that nothing is real, that everything is stylized. The tree is not a real tree, it's stylized. The language is stylized and must be stylized because you don't have editing.

You have to write lines so that you can communicate to the audience everything so they will understand. It's stylized for that purpose. But film is very different because you see that everything is real. The trees are real, the buildings are real, the sky is real, so people better be real too and not stylized like on the stage. Who doesn't have sympathy for the underdog? Of course, I do. We create institutions, governments and schools to help us live, but every institution has a tendency, after a while, to behave not as if they should be serving you, but that you should be serving them. That's when the individual gets in conflict, because we are paying these institutions with our taxes, we are paying them to serve us and help us live, and not to tell us how to live and dominate us. I wouldn't say it's the underdog but it's always the conflict within the individual and the institutions. Instead of underdogs, let's talk about dogs. If you corner a dog, he's ready to bite you. That's the reality. Otherwise he's a loveable, wonderful creature. If you corner him, he can behave abominably. And so does a human being.

When an individual is cornered by society or an institution, well, he can behave abominably and I can't really hide it or glorify it. Neither. It's just a fact of life. Director is little bit of everything, little bit of the writer, little bit of an actor, little bit of an editor, little bit of a costume designer. Good director is the director who chooses for this profession people who are better than he is. Yes, I can write, but I have to have a writer who is a better writer than I am, I have to have actors who are better actors than I am, I have to have sound engineers who are better sound engineer than I am, you know. It's a strange profession, ....visually it's your vision. Some scenes have to be done exactly as they are written in the scripts because otherwise the pace would suffer, like that. But then there are scenes which allow a space for improvisation and then I like to encourage improvisation, but you have to always have exact script because 90% of improvisation is usually very boring, unusable.

But the 10% or even less, even if you have 1%, you can get such a gem of unrepeatable moments of films that it's worth it to try to improvise. But if improvisation doesn't work you have to have a solid script to go back to. [on Valmont (1989)] We were in the middle of our script already when they announced their version, based on the play. Of course we immediately learned they were rushing into it very fast. With the concept I had, we all knew I couldn't be faster. We couldn't beat them. So, I was expecting a call from the producers saying 'Sorry, Milos, we can't take the risk.' The call came. They asked me, 'Does it really bother you that another film is going to be made?' I said of course not. And I felt like, god, Hollywood is still crazy. That's good. On his twin sons: "Originally we were going to name the baby Andy, because I was doing a film about Andy Kaufman . Then we learned we were having twins, and we said, OK, it will be Andy and Tony, after Andy's famous character, Tony Clifton.

But then my son's wife gave birth to a daughter, and they named her Toni. I couldn't have a Tony, so we chose Jim. When you choose names for your children, you want to name them after somebody you like very much, so the name will always ring beautifully in your ears. And that was how I felt about Jim Carrey ." Give me $100,000 and I will make the film for $100,000. Give me $10m and I will make the film for $10m. Give me $100m and I will spend it. It's funny to realize, but in my relatively short life I have lived through six or seven different social and cultural systems. First the Democratic Republic of Czechoslovakia, then the limited democracy before World War II, then the Nazi regime. After the Nazi regime there was a kind of democracy again for three years, then came the Stalinist regime, then the reformed Communist regime, and now I am living in a free country.

[on Jack Nicholson ] The moment he begins to work, he becomes a servant: he knows the story, he knows the film, he arrives each day prepared to perfection, he is interested in an excellent ambiance and he helps to create it. When the Nazis and Communists first came to Czechoslovakia, they declared war on pornographers and perverts. Everyone applauded: who wants perverts running through the streets? But then, suddenly, Jesus Christ was a pervert, Shakespeare was a pervert, Hemingway was a pervert. It always starts with pornographers to open the door a little, but then the door is opened wide for all kinds of persecution. It all begins in the script. If what's happening is interesting, it doesn't matter where you shoot from, people will be interested to watch. If you write something boring, you can film from mosquitoes' underpants and it will still be boring. When I was asked to direct One Flew Over the Cuckoo's Nest (1975), my friends warned me not to go anywhere near it. The story is so American, they argued, that I, an immigrant fresh off the boat, could not do it justice.

They were surprised when I explained why I wanted to make the film. To me it was not just literature but real life, the life I lived in Czechoslovakia from my birth in 1932 until 1968. The Communist Party was my Nurse Ratched, telling me what I could and could not do; what I was or was not allowed to say; where I was and was not allowed to go; even who I was and was not. I hear the word "socialist" being tossed around by the likes of Rick Perry , Newt Gingrich , Rick Santorum , Sean Hannity , Rush Limbaugh and others. President Barack Obama , they warn, is a socialist. The critics cry, "Obamacare is socialism!" They falsely equate Western European-style socialism, and its government provision of social insurance and health care, with Marxist-Leninist totalitarianism. It offends me, and cheapens the experience of millions who lived, and continue to live, under brutal forms of socialism. My sister-in-law's father, Jan Kunasek, lived in Czechoslovakia all his life. He was a middle-class man who ran a tiny inn in a tiny village.

One winter night in 1972, during a blizzard, a man, soaked to the bone, awakened him at 2 in the morning. The man looked destitute and, while asking for shelter, couldn't stop cursing the Communists. Taking pity, the elderly Mr. Kunasek put him up for the night. A couple of hours later, Mr. Kunasek was awakened again, this time by three plainclothes policemen. He was arrested, accused of sheltering a terrorist and sentenced to several years of hard labor in uranium mines. The state seized his property. When he was finally released, ill and penniless, he died within a few weeks. Years later we learned that the night visitor had been working for the police. According to the Communists, Mr. Kunasek was a class enemy and deserved to be punished. [W]hen I was moonlighting on Czech TV as a moderator, introducing movies, in the early '50s. It was live, so there was no chance to bleep politically undesirable words. Every utterance, even in supposedly spontaneous interviews, had to be scripted, approved by the censors, learned by heart and repeated verbatim on the air.

When I was preparing to interview one Comrade Homola, a powerful Communist, I sent him questions, but didn't receive his answers. My boss, also a powerful party member, told me: "He is lazy! Write his answers for him, and remind him to learn them by heart." So I did. Comrade Homola arrived at the last moment. When the red light went on and I asked the first question, he reached into his pocket, took out my answers and started to read them, awkwardly and obediently - including my inadvertent grammatical mistakes. And thus, to my consternation, went the whole interview. In the control booth, my boss hit the roof. I was fired the next day for ridiculing a representative of the state. [on directing "The Little Black Book" on Broadway] I enjoyed our arguments about the text with Delphine Seyrig and Richard Benjamin during rehearsals. I enjoyed the whole thing, but then I had to admit that I wasn't a theatrical director. There are just a few directors - and Ingmar Bergman being one of the best - who are able to direct films as well as stage performances - and they are able to do it well. I'm not one of them.

What I miss is the abstract imagination, which theatre definitely requires. I always have a feeling in the end that I'm holding a camera in my hand and that I'm being forced to look at the same shot for two hours and I have to choke back the urge to cry: 'Stop!'" [on Amadeus (1984)] I was surprised at the size of the success. In the '80s, with MTV on the scene, we are having a three-hour film about classical music, with long names and wigs and costumes. Don't forget that no major studio wanted to finance the film, for those reasons. I knew we didn't have a film we should be ashamed of, but the response of the audience was overwhelming. It surprised me. [from his Oscar acceptance speech for One Flew Over the Cuckoo's Nest (1975)] I thank the Academy for the company of the nominees they put me in - I'm very proud of that. When I want to think of what possible reasons I'm here now, I can find two: the first is that this year the Academy members recognised the fact that last year I spent more time in a mental institution than the others.

And the second might be that, well, that America is still a very beautiful, hospitable and open country. [on Valmont (1989)] When I was in the film school in Prague, my professor of literature was a Francophile, and he was always suggesting that we read and study French literature. And he suggested 'Les Liaisons Dangereuses'. I was 18 or 19 years old. Oh my god, how much I loved that book. I wouldn't dare, of course, to say to anybody, but I thought it would be a wonderful, erotic movie. And then, many, many years later, I was asked to see 'Les Liaisons Dangereuses' on the stage, and to make the film with the Christopher Hampton adaptation. I went to see it, and I was sort of surprised how what I saw differs from my memory of the book. I thought my memory of the book was what was interesting, at least for me. So I said, "Yeah, I would like to make the film, but not based on the play.

I would like to work with Mr Hampton, but I would like to base it on what I remember, what the book meant to me." They didn't like that idea. Then I discovered, to my surprise, that the play was very faithful to the book. My memory played these funny games on me, and in some arrogant way, I thought, "My memory's interesting. My memory's better." And I got so involved and excited about the making of that movie. [accepting his Best Director Oscar for Amadeus (1984)] I'm very proud because this is an American movie on which a lot of Czechoslovakian artists and technicians collaborated - to get this kind of recognition from the members of the Academy for this kind of collaboration, I think it's very encouraging for more than artistic or box office reasons. See also hackwriters.com - Amadeus Directed by Milos Foreman (DVD Directors Cut) Dan Schnieder review The International Writers Magazine: DVD review Amadeus Directed by Milos Foreman Screenplay Peter Shaffer Starring Tom Hulce, F.

Murray Abraham  Dan Schnieder In all the years since its release, I'd never seen the 1984 Oscar winning best film Amadeus, partly because classical music did not interest me, and partly because I have an aversion to 'period dramas', and all their costumery. As the years have gone on, and my wife has nagged me to see this favorite of hers. I finally gave in and bought the two DVD Director's Cut version, released in 2001, of this biopic on the life of Wolfgang Amadeus Mozart, who along with Beethoven is considered one of the two greatest composers of all time. This version is almost forty minutes longer than the original, and clocks in at nearly three hours. I found that the film was not at all as I expected- a staid Merchant-Ivory type production mixed with a hint of Masterpiece Theater. This was both good and bad. On the positive side is the very dramatic structure of the film, being told from Mozart's inferior rival's, Antonio Salieri's (F. Murray Abraham), point of view.

On the down side is the over the top performance by Tom Hulce, as Mozart, especially with that pointlessly distracting guffaw. Also, as the DVD delineates which scenes were altered, extended, or added in toto, it becomes obvious that director Milos Forman's original cut was the superior, as none of the added scenes adds palpably to the thrust of the film. Yes, I liked the added scene of Mozart's wife, Constanze (Elizabeth Berridge), getting naked to try to sexually please Salieri, to advance her husband's career, for Berridge was certainly a major hotty with the body back then, but, despite my prurient interest, the scene is pointless. In the commentary track by Forman (who also directed One Flew Over The Cuckoo's Nest) and playwright Peter Shaffer (Equus), whose play the film was adapted from by him, it's clear that Shaffer found many of the additions unnecessary and had more than one disagreement with Forman. Forman, however, makes an excellent point when he states that he always wants to make sure his minor characters are played by memorable actors, to enhance the realism of the film.

This is a tack that very few writers realize, as most minor characters in even better works of fiction are merely throwaways. The music, of course, is top notch, as is the staged choreography by Twyla Tharp. But, this film really is a showcase for Abraham's version of Salieri, for which he won a Best Actor Oscar, beating out Hulce, the only time Salieri ever bested Mozart. The film, shot in Prague, but set in Vienna, opens in the 1820s, three or more decades after Mozart's death. Salieri attempts suicide, and when a young priest (Richard Frank) comes to shrive him in the asylum he's been living in, he apologizes for killing Mozart. Although this is clearly a metaphor, the priest is troubled, and listens to Salieri's discursion. Salieri loved music, but was denied it, till a miracle occurred, and his father died. He then rose to Court Composer for the King of Austria, but always felt dogged by the child prodigy Mozart. We learn of Salieri's revulsion for the vulgar Mozart, who mocks Salieri's music with farts, and his fascination with him.

Salieri took vows of chastity so that he could have the gift of music, yet Mozart whored about, and could write far greater music with almost no effort. Thus, his vow to destroy The Creature, as he calls his rival. In the end, he concocts a Byzantine plot to drive Mozart mad with visions of his dead and demanding father, after attempts to squelch his career in other ways failed miserably. This leads to Constanze leaving him, taking their child, and Mozart falling into decadent despair. He ends up ill, and collapses at a vaudeville performance of his work. Salieri then takes him home. Will he finally murder Mozart? No. Instead, he writes down the dictated final piece of music, the Requiem Mass, that will be Mozart's last. When done, Constanze returns, only to find Salieri with Mozart. She hurls accusations, but Mozart defends him, then expires. Salieri's life is then one of a slow fade to forgotten mediocrity. As he finishes telling this tale to the priest, Salieri is carted through the asylum, where he blesses the insane, defending them as his people, as he is the Saint of Mediocrity.

Unfortunately, in either version, this is nowhere near a great film. It's a fun, solid romp, but the American accents and slang that infiltrate Eighteenth Century Viennese society are just too much, as is Hulce as Mozart. No, a staid portrayal of the man would have been dull, but a genius as idiot savant, or a step above, is not worthy of this dramatic treatment, either. That it only heightens Salieri's frustration is dramatically defensible, but since the whole notion of Salieri's envy and hatred of Mozart is a historical fiction, there really was no reason to go so over the top in the first place. The rest of the cast does fairly well. Berridge as the clueless wife, Jeffrey Jones, as Emperor Joseph, is a dolt with a heart, who doesn't understand how to run his own life, much less a nation. On the second DVD there is an hour long documentary that has some insights, but I've seen better and more informative ones. Had the DVD been issued in the last year or two it would have been on a single DVD, for there really no need for two DVDs nowadays.

All in all, I would recommend the film, but as a light diversion, not a serious inquiry in to art nor the artistic mindset. That film has yet to be made. © Dan Schneider April 2007 Miloš Forman News 28. 3. 2015 Czech cinematographer Miroslav Ondříček Czech cinematographer Miroslav Ondříček, longtime collaborator of Miloš Forman, died today at the age of 80. They collaborated on many movies, for example Amadeus, which has had a 30 years anniversary since the Oscars ceremony this Wednesday. After more than 30 years of waiting, Miroslav Ondříček had a chance to watch Czech premiere of the movie Ragtime in 2012. News 25. 3. 2015 Amadeus received 8 Oscars before 30 years It has been 30 years since movie Amadeus received 8 Oscars today. Imagine you are in the Dorothy Chandler Pavilion in Los Angeles for a while and watch Miloš Forman accepting The Academy Award for Best Directing. News 6. 9.

2014 Czech art director Karel Černý died yesterday at the age of 92 Czech art director Karel Černý died yesterday at the age of 92. He was a longtime collaborator of Miloš Forman and Oscar winner for the movie Amadeus. News 5. 1. 2014 Producer Saul Zaentz dies at 92 Producer and friend of Miloš Forman, Saul Zaentz, died on January 3, 2014 at the age of 92. „It was a wonderful collaboration. Usually there is some friction between the producer and director or whatever. But with him, never.“ News 4. 2. 2013 DGA Lifetime Achievement Award Miloš Forman was honored with the DGA Lifetime Achievement Award yesterday evening. “No matter what subject or genre he tackles, Miloš finds the universality of the human experience in every story, allowing us – his rapt audience – to recognize ourselves within the struggle for free expression and self-determination that Miloš so aptly portrays on the silver screen,” said DGA President Taylor Hackford. News 11. 12.

2012 Director Milos Forman to Receive Guild’s Highest TributeAt 65th Annual DGA Awards Forman Becomes 34th Director Honored with Lifetime Achievement Award For Distinguished Achievement in Motion Picture Direction. Los Angeles – Directors Guild of America President Taylor Hackford today announced that Milos Forman will receive the Guild’s top honor, the Lifetime Achievement Award for Distinguished Achievement in Motion Picture Direction, at the 65th Annual DGA Awards on February 2, 2013. “It is a tremendous privilege to present the DGA Lifetime Achievement Award for feature film to one of the greatest filmmakers of our time, Milos Forman,” said Hackford. “No matter what subject or genre he tackles, Milos finds the universality of the human experience in every story, allowing us – his rapt audience – to recognize ourselves within the struggle for free expression and self-determination that Milos so aptly portrays on the silver screen.” The DGA Lifetime Achievement Award winner is selected by the present and past presidents of the Guild. In the Guild’s 76-year history, only 33 other directors have been recognized with the honor, including Cecil B.

DeMille (1953), Frank Capra (1959), Alfred Hitchcock (1968), Orson Welles (1984), Billy Wilder (1985), Akira Kurosawa (1992), Stanley Kubrick (1997), Francis Ford Coppola (1998), Steven Spielberg (2000), Martin Scorsese (2003), Clint Eastwood (2006), and most recently, Norman Jewison (2010). Forman is perhaps best known for directing the outstanding feature films One Flew Over the Cuckoo’s Nest and Amadeus, for which he twice won the DGA Award for Outstanding Directorial Achievement in Feature Film. His films have garnered 33 Academy Award nominations and 13 Academy Awards, and the filmmaker himself has been nominated for three Best Director Awards, winning twice for One Flew Over the Cuckoo’s Nest and Amadeus. One Flew Over the Cuckoo’s Nest became only the second film in history to sweep the top five Academy Award categories in one year.

After graduating from the University of Prague’s Film Institute, Forman began writing screenplays and making short semi-documentaries. He directed his first feature, Black Peter, in 1963, which garnered success at film festivals at Cannes, Montreal and New York, and brought him to the United States for the first time. His next two films, Loves of a Blonde and Fireman’s Ball, were nominated for Academy Awards for Best Foreign Language Film, after which Forman moved to New York to make his first American feature, Taking Off. In 1973, producers Michael Douglas and Saul Zaentz contacted Forman about directing One Flew Over the Cuckoo’s Nest, which garnered Forman his first DGA Award, five Academy Awards including Best Director, and four additional nominations. Forman next turned long-running musical Hair into a feature film and followed that with Ragtime, which was nominated for eight Academy Awards. 1984’s Amadeus brought more critical acclaim, a second DGA Award, and eight Academy Awards including Best Director and Best Picture. Forman’s most recent films include Valmont; The People vs.

Larry Flynt, for which Forman received his third Academy Award nomination for Best Director; Man in the Moon and Goya’s Ghosts. He also spent many years teaching and running the film studies program at Columbia University. Forman joined the DGA in 1970 and served two terms on the National Board. A longtime champion of artist’s rights, Forman became personally involved with the issue of unauthorized film alteration after his film version of Hair was broadcast with half of its musical scenes removed without his authorization. He was a Charter Benefactor of the Artists Rights Foundation, a Governor of the Artists Rights Education and Legal Defense Fund Council at The Film Foundation, and a member of the DGA President’s Com­mittee on Film Preservation. In 2009, Forman gave the keynote address at the CISAC World Copyright Summit in Washington, D.C. on behalf of the DGA expressing concern about how rampant digital theft would impact the ability of artists to be compensated for their work. Forman was awarded the John Huston Award for Artists Rights in 1997 and the DGA Honor in 2008.

The award will be presented at the 65th Annual DGA Awards Dinner on Saturday, February 2, 2013 at the Ray Dolby Ballroom at Hollywood & Highland in Los Angeles. Trivia 19. 2. 2012 Goya’s Ghosts The 13th Count of Salvatierra, Cayetano Martínez de I­rujo y Fitz-James Stuart acted in the movie. He is the youngest son of the Duchess of Alba who is one of the richest women in the world (and whose ancestor was allegedly Goya's lover). Forman, Cayetano, and his then-fiancée Genoveva Casanova y González met during a trip to Spain. Genoveva showed Forman around the Duchess of Alba’s private art collection, which included several of Goya’s paintings. Afterwards, Genoveva invited Forman to her wedding with Martínez. The director promised to attend if they would both act in his movie. Ca­yetano played Wellington and Genoveva played a harlot to be shipped with other prostitutes to America. Trivia 18. 2.

2012 Man on the Moon While shooting “Man on the Moon” Carrey allegedly requested two trailers on set – one for „Andy Kaufman“, and one for Kaufman's ob­noxious lounge singer persona „Tony Clifton“. Carrey refused to be called by his real name and insisted on being dealt with as Andy Kaufman on and off the set. Interesting Facts 16. 2. 2012 Milos Forman on Google.com If you type “Milos Forman” into Google you will get approximately about 2,510,000 links. Not a bad result! Amadeus (1984) - IMDb IMDb There was an error trying to load your rating for this title. Some parts of this page won't work property. Please reload or try later. X Beta I'm Watching This! Keep track of everything you watch; tell your friends. Error The incredible story of Wolfgang Amadeus Mozart , told by his peer and secret rival Antonio Salieri - now confined to an insane asylum.

Director: Peter Shaffer (original stage play), Peter Shaffer (original screenplay) Stars: From $2.99 (SD) on Amazon Video ON DISC a list of 25 titles created 03 Jul 2011 a list of 21 titles created 11 Jan 2013 a list of 22 titles created 26 Jun 2014 a list of 21 titles created 28 Jan 2015 a list of 37 titles created 5 months ago Search for " Amadeus " on Amazon.com Connect with IMDb Want to share IMDb's rating on your own site? Use the HTML below. You must be a registered user to use the IMDb rating plugin. Won 8 Oscars. Another 33 wins & 14 nominations. See more awards » Videos In Chicago in September 1936, a young con man seeking revenge for his murdered partner teams up with a master of the big con to win a fortune from a criminal banker. Director: George Roy Hill A criminal pleads insanity after getting into trouble again and once in the mental institution rebels against the oppressive nurse and rallies up the scared patients.

Director: Milos Forman Gandhi's character is fully explained as a man of nonviolence. Through his patience, he is able to drive the British out of the subcontinent. And the stubborn nature of Jinnah and his commitment towards Pakistan is portrayed. Director: Richard Attenborough A sexually frustrated suburban father has a mid-life crisis after becoming infatuated with his daughter's best friend. Director: Sam Mendes When his secret bride is executed for assaulting an English soldier who tried to rape her, William Wallace begins a revolt against King Edward I of England. Director: Mel Gibson 1 2 3 4 5 6 7 8 9 10 8.3/10 X In future Britain, Alex DeLarge, a charismatic and psycopath delinquent, who likes to practice crimes and ultra-violence with his gang, is jailed and volunteers for an experimental aversion therapy developed by the government in an effort to solve society's crime problem - but not all goes according to plan. Director: Stanley Kubrick In Casablanca, Morocco in December 1941, a cynical American expatriate meets a former lover, with unforeseen complications.

Director: Michael Curtiz The story of T.E. Lawrence , the English officer who successfully united and led the diverse, often warring, Arab tribes during World War I in order to fight the Turks. Director: David Lean Atticus Finch, a lawyer in the Depression-era South, defends a black man against an undeserved rape charge, and his children against prejudice. Director: Robert Mulligan Following the death of a publishing tycoon, news reporters scramble to discover the meaning of his final utterance. Director: Orson Welles A Polish Jewish musician struggles to survive the destruction of the Warsaw ghetto of World War II. Director: Roman Polanski A young recruit in Vietnam faces a moral crisis when confronted with the horrors of war and the duality of man. Director: Oliver Stone Edit Storyline Antonio Salieri believes that Wolfgang Amadeus Mozart 's music is divine and miraculous. He wishes he was himself as good a musician as Mozart so that he can praise the Lord through composing. He began his career as a devout man who believes his success and talent as a composer are God's rewards for his piety. He's also content as the respected, financially well-off, court composer of Austrian Emperor Joseph II.

But he's shocked to learn that Mozart is such a vulgar creature, and can't understand why God favored Mozart to be his instrument. Salieri's envy has made him an enemy of God whose greatness was evident in Mozart. He is ready to take revenge against God and Mozart for his own musical mediocrity. Written by Khaled Salem Did You Know? Trivia The piece of Wolfgang Amadeus Mozart 's music with the oboe and clarinet themes, whose score Salieri so deeply admires in the early scenes, is the Adagio, or third movement, of the Serenade No. 10 in B-flat, KV361, also known as "Gran Partita". See more » Goofs Near the end when the bed-ridden Mozart is dictating a movement of his Requiem to Salieri, he tells him to write the bass instruments' notes as the "tonic and dominant" pitches in the key of A minor. But the notes that play, and the notes that actually appear in the score, are the tonic and sub-dominant. See more » Quotes

Question: Which film directed by Milos Foreman netted him his second Best Director 'Oscar'?
Answer: 'AMADEUS'